On the island of Thulhaadhoo in Baa Atoll, fewer than 1,500 people live on a sliver of sand just 400 metres long and 200 metres wide. The population density here is among the highest in the Maldives — islands of this size typically house no more than 500 residents. Density alone doesn’t explain what makes this community remarkable. Thulhaadhoo is the last place in the country where the ancient craft of lacquerwork, known as Liyelaa Jehun, is still actively practiced by a handful of families who pass the designs down in memory, never on paper.
On Thulhaadhoo, a 400-metre-long island in Baa Atoll, the last generation of lacquer artisans still carve patterns from memory — a tradition that has spanned at least four centuries.
This article explores the origins, techniques, and current state of Maldivian lacquerwork. It is written for anyone curious about how a small island community sustained a craft through trade routes, generational knowledge, and a changing economy.
Liyelaa Jehun is the Maldivian tradition of sculpting wood and applying coloured lacquer in layers, then carving through those layers to reveal vivid patterns. It arrived via Chinese trade routes, adapted to local materials, and is now sustained almost entirely on Thulhaadhoo. The craft is not a static relic — it has evolved in colour, tool use, and purpose, and faces real questions about transmission to the next generation.
| Aspect | Detail | Notes |
|---|---|---|
| Origins | Chinese trade routes, adapted by Maldivian artisans | Lacquer trees not native to Maldives; laa imported from India |
| Primary location | Thulhaadhoo Island, Baa Atoll | Only island with active, continuous practice |
| Primary woods used | Funa (Alexander Laurel), coconut, breadfruit, palm | Wood shaped on a manual lathe (dhigu haru) |
| Traditional colours | Yellow (fashurisseyo), red (uguli), black (ceramic tile tar) | Gold and silver dust added for lustre; oil pigments now common |
| Core process | Liyun (wood sculpting) + Laa Jehun (lacquer application) | Layers applied, then carved to reveal underlying colours (Laa Negun) |
| Price range | USD 10 (small piece) to USD 250 (half-metre vessel) | Varies by size, complexity, and artisan |
| Age of tradition | At least 400 years | Historians cite lacquerwork on utensils and furniture from this period |
From China to the Maldives — A Trade Route Legacy
The history of lacquerwork in the Maldives begins with maritime trade. Chinese merchants were the first to trade lacquerware across the Indian Ocean, and Maldivian artisans learned the craft through these exchanges, according to accounts preserved by the Department of Heritage and ICH-CAP. The lacquer used in the Maldives — called laa — has never been locally sourced because lacquer trees do not grow on the islands. It has been imported from India and neighbouring countries for centuries.
Archaeological evidence of early Maldivian lacquerwork appears in coralstone mosques, where lacquer coatings were applied to wooden pillars and coffered ceilings. The material served a practical purpose first: it protected wood from heat, moisture, and deterioration in the tropical climate. Over time, the protective layer evolved into a decorative art form. Historians note that lacquerwork has been found on utensils and furniture, with the craft passed down for at least 400 years.
A common misconception is that Maldivian lacquerwork uses locally harvested lacquer. In fact, the lacquer resin is imported from India, where it is derived from the secretion of the lac insect (Kerria lacca). The Maldives has no native lacquer trees, and the entire tradition depends on this external supply chain.
What happened on Thulhaadhoo was different from the rest of the archipelago. On other islands, the scarcity of practitioners meant the craft did not survive across generations. But on Thulhaadhoo, several families kept the knowledge alive, and the island became the recognised master of lacquer craftsmanship in the Maldives.
Liyun and Laa Jehun — The Two-Part Process
The craft breaks into two distinct phases: Liyun, the sculpting of the wooden object, and Laa Jehun, the application and carving of the lacquer. Each phase requires different tools and skills, and both are executed by the same artisan in most Thulhaadhoo workshops.
The artisan chooses a local wood — most commonly Funa (Alexander Laurel wood), but also coconut, breadfruit, or palm. The wood is mounted on a spinning stand called a dhigu haru or bomakandhu haru, a manual lathe powered by a cord wound around a spindle. The artisan shapes the wood with hand tools, working symmetrically as the piece rotates. Some workshops now use electric motors, but the hand-turned lathe remains in use.
The imported laa is melted over fire, scraped onto a flat surface, and mixed with pigment. Traditional colours come from specific natural sources: yellow from fashurisseyo (a Maldivian herbal medicine), red from a substance called uguli, and black from heating a ceramic tile with an oil lamp and collecting the tar. Gold and silver dust are added to some pieces. In recent years, oil-based pigments have expanded the palette.
The artisan applies multiple layers of coloured lacquer using a tool called Ihaa Gondi. Each layer is allowed to solidify before the next is added. The creative process typically starts with a vibrant hue and ends with a darker shade, often black. The number of layers determines the depth of the final carved pattern.
Using a sharp implement, the artisan carves intricate designs through the layers, revealing the colours beneath. This is the moment of revelation — Laa Negun describes the unveiling of the underlying vibrant layers. The patterns are never drawn on the wood first; they exist entirely in the artisan’s memory, passed down through family lines.
The finished piece is polished with dried banana leaf sheets or coconut palm leaf sheets to achieve a smooth, glossy surface. This traditional method of polishing, used for hundreds of years, gives the lacquerware its characteristic sheen without synthetic compounds.
Patterns Passed in Memory
The designs carved into Maldivian lacquerware are predominantly floral motifs, with some geometric elements and natural patterns inspired by island life. The influence of Chinese ceramics is visible in the slight abstraction of the floral forms. These patterns are not written down or recorded in pattern books; they are preserved within families and taught through direct demonstration.
This raises an unresolved question in the scholarship of Maldivian craft: how much of the design vocabulary has been lost, and how much has evolved, over the centuries without written documentation? The patterns on a container made in Thulhaadhoo today may look similar to one made 200 years ago, but without a continuous written record, scholars cannot be certain. What is known is that the same families have been producing the same motifs for generations, with subtle shifts that reflect individual artisan preference.
Beyond the carved lacquerware of Thulhaadhoo, there is a second style called Laa Fenkurun, which involves heated lacquer tinted with natural colours and applied as a protective glossy coating to wooden beams and columns in Maldivian mosques. This style is distinct from the layered carving technique and serves a different purpose — architectural preservation rather than object decoration. The coralstone mosques of the Maldives, some of which date to the 17th century, still show traces of this technique on their interior woodwork.
If you visit Thulhaadhoo and have the opportunity to observe a workshop, always ask permission before photographing the artisan at work. The craft is intimate and personal, and many artisans consider the act of creation a private family practice. A verbal request in Dhivehi, or through a guide, is the appropriate first step.
Context and Comparison — Lacquerwork Across the Indian Ocean
Maldivian lacquerwork is often compared to the lacquer traditions of India and China, but the materials, techniques, and cultural roles differ significantly. The following table outlines the key distinctions.
| Aspect | Maldivian (Liyelaa Jehun) | Indian (Shellac) | Chinese (Lacquerware) |
|---|---|---|---|
| Origin of lacquer | Imported from India (no native lac trees) | Derived from lac insect (Kerria lacca) | Native lac tree (Toxicodendron vernicifluum) |
| Primary colours | Yellow, red, black, with gold/silver accents | Red, green, yellow, black | Red, black, gold |
| Key technique | Layered carving (Laa Negun) | Turned wood, lac bangles, flat lacquer | Carved lacquer, inlay, painted lacquer |
| Cultural role | Spice containers, jewellery boxes, mosque decoration, wedding boxes | Bangles for marriage ceremonies, cosmetics, festival items | Royal court items, export ware, luxury furniture |
The word “lacquer” in the Maldivian context refers to a resin-based coating imported from India, where it is derived from the lac insect. This is chemically and ecologically different from Chinese lacquer, which comes from the sap of the lac tree (Toxicodendron vernicifluum). The two materials share a name in English but are distinct substances with different properties.
In India, references to the lac tree appear in the Vedas and the Mahabharata, indicating a tradition that spans millennia. Lac dye has been used in cosmetics, and lac bangles remain important in marriage ceremonies. The Maldivian tradition, by contrast, is younger (at least 400 years) and more geographically concentrated, with no equivalent of the widespread bangle culture that exists in parts of India.
A common oversimplification is to treat all lacquerwork across Asia as a single tradition. In reality, the lacquer used in the Maldives is imported from India, the craft arrived via Chinese trade routes, and the techniques have been adapted to local materials and aesthetics. Each region’s lacquerwork reflects its own ecology, trade history, and social function. Conflating them erases the specific circumstances that allowed Thulhaadhoo to become the last island of lacquer.
- Liyelaa Jehun is a two-stage craft: wood sculpting (Liyun) and lacquer application (Laa Jehun), with patterns carved through layered colours from memory.
- Thulhaadhoo in Baa Atoll is the only island in the Maldives where the tradition is still actively practiced by multiple families.
- Lacquer is imported from India; the craft depends on this external supply chain, which has remained stable for centuries.
- Designs are transmitted orally and visually within families, never written down — a vulnerability and a strength.
What visitors often ask about Maldivian lacquerwork
Is Liyelaa Jehun still practiced today?
Yes, but on a very small scale. Thulhaadhoo in Baa Atoll is the only island where the craft is actively maintained by a handful of families. The Maldives Correctional Services also run lacquerwork workshops at Maafushi Prison, where officers and staff are trained to teach inmates the craft.
What makes Thulhaadhoo the centre of lacquerwork?
The island’s high population density relative to its size created conditions where craft knowledge could be concentrated and passed down within families. On other islands, too few practitioners existed to sustain the tradition across generations. Thulhaadhoo’s isolation also meant less competition from imported goods.
How much does Maldivian lacquerware cost?
Prices range from about USD 10 for a small single-colour piece to USD 250 for a half-metre tall vessel with multiple carved layers. The price reflects the wood used, the number of colour layers, the complexity of the carving, and the artisan’s reputation, according to Maldivian craft market sources.
What’s the difference between Maldivian and Indian lacquerwork?
Maldivian lacquerwork uses imported Indian laa but applies it through a layered carving technique (Laa Negun) that is distinct from Indian shellac traditions. Indian lacquerwork includes lac bangles, turned wood, and flat lacquer applications, while Maldivian work is primarily on carved wooden vessels and architectural elements.
Preserving a Craft That Lives in Memory
The future of Liyelaa Jehun depends on whether the current generation of Thulhaadhoo artisans can transmit their knowledge to younger practitioners. The Maldivian government supports the craft through the Department of Heritage and ICH-CAP, but the real transmission happens in family workshops, where patterns are demonstrated by hand and committed to memory. Tourism has created a market for lacquerware as souvenirs, which provides economic incentive, but it also pressures artisans to produce faster, simpler pieces for a broader audience.
What makes this tradition more than a craft curiosity is what it reveals about how knowledge travels — across oceans, through families, and inside the memory of a single person. The 400-year-old thread that connects Chinese traders to a workshop in Thulhaadhoo is still intact, but it has never been thinner. To learn more about the broader context of Maldivian artistry, read our guide to Maldivian art and craftsmanship.
Sources and further reading
Dhivehi Raajje. “Liyelaa Jehun – An Ancient Craft.” 🔗
PMSangrahalaya. “Gleaming Traditions – The Art of Maldivian Lacquer Work.” 🔗
Halamaldif. “Maldivian Lacquer Art – A Masterpiece from Paradise Awaits.” 🔗
South Asian Salon. “Liyelaa Jehun: The Vibrant World of Lacquer Work.” 🔗
Related reading on IslandHopperGuides
Navigating Maldivian Etiquette — practical guidance for respectful interactions when visiting craft communities.
Discover the Soulful Rhythms of Bodu Beru — another Maldivian tradition passed through generations, rooted in performance rather than object-making.
Explore Places to Stay in Maldives
Feel free to zoom in and out of the map to explore the area and find the best place to stay for your trip.